1.

 Leonardo Da Vinci, Mona Lisa, 1503–19

Painted between 1503 and 1517, Da Vinci’s alluring portrait has been dogged by two questions since the day it was made: Who’s the subject and why is she
smiling? A number of theories for the former have been proffered over the years: That she’s the wife of the Florentine merchant Francesco di Bartolomeo del
Giocondo (ergo, the work’s alternative title, La Gioconda); that she's Leonardo’s mother, Caterina, conjured from Leonardo's boyhood memories of her; and
finally, that it's a self-portrait in drag. As for that famous smile, its enigmatic quality has driven people crazy for centuries. Whatever the reason, Mona Lisa’s look
of preternatural calm comports with the idealized landscape behind her, which dissolves into the distance through Leonardo’s use of atmospheric perspective.
2. Johannes Vermeer, Girl with a Pearl Earring, 1665

Johannes Vermeer’s 1665 study of a young woman is startlingly real and startlingly modern, almost as if it were a photograph. This gets into the debate over
whether or not Vermeer employed a pre-photographic device called a camera obscura to create the image. Leaving that aside, the sitter is unknown, though it’s
been speculated that she might have been Vermeer's maid. He portrays her looking over her shoulder, locking her eyes with the viewer as if attempting to
establish an intimate connection across the centuries. Technically speaking, Girl  isn’t a portrait, but rather an example of the Dutch genre called a tronie—a
headshot meant more as still life of facial features than as an attempt to capture a likeness.
3. Vi nce
nt van
Gogh, The Starry Night, 1889

Vincent Van Gogh’s most popular painting, The Starry Night was created by Van Gogh at the asylum in Saint-Rémy, where he’d committed himself in 1889.
Indeed, The Starry Night seems to reflect his turbulent state of mind at the time, as the night sky comes alive with swirls and orbs of frenetically applied brush
marks springing from the yin and yang of his personal demons and awe of nature.
4. Gustav Klimt, The Kiss, 1907–1908

Opulently gilded and extravagantly patterned, The Kiss, Gustav Klimt’s fin-de-siècle portrayal of intimacy, is a mix of Symbolism and Vienna Jugendstil, the
Austrian variant of Art Nouveau. Klimt depicts his subjects as mythical figures made modern by luxuriant surfaces of up-to-the-moment graphic motifs. The work
is a high point of the artist’s Golden Phase between 1899 and 1910 when he often used gold leaf—a technique inspired by a 1903 trip to the Basilica di San Vitale
in Ravenna, Italy, where he saw the church’s famed Byzantine mosaics.
5. Sandro Botticelli, The
Birth of Venus, 1484–1486

Botticelli’s The Birth of Venus was the first full-length, non-religious nude since antiquity, and was made for Lorenzo de Medici. It’s claimed that the figure of the
Goddess of Love is modeled after one Simonetta Cattaneo Vespucci, whose favors were allegedly shared by Lorenzo and his younger brother, Giuliano. Venus is
seen being blown ashore on a giant clamshell by the wind gods Zephyrus and Aura as the personification of spring awaits on land with a cloak.
Unsurprisingly, Venus attracted the ire of Savonarola, the Dominican monk who led a fundamentalist crackdown on the secular tastes of the Florentines. His
campaign included the infamous “Bonfire of the Vanities” of 1497, in which “profane” objects—cosmetics, artworks, books—were burned on a pyre.  The Birth of
Venus was itself scheduled for incineration, but somehow escaped destruction. Botticelli, though, was so freaked out by the incident that he gave up painting for a
while.

6. James Abbott McNeill Whistler, Arrangement in Grey and Black No. 1, 1871

Whistler’s Mother, or Arrangement in Grey and Black No. 1 , as it’s actually titled, speaks to the artist’s ambition to pursue art for art’s sake. James Abbott McNeill
Whistler painted the work in his London studio in 1871, and in it, the formality of portraiture becomes an essay in form. Whistler’s mother Anna is pictured as one
of several elements locked into an arrangement of right angles. Her severe expression fits in with the rigidity of the composition, and it’s somewhat ironic to note
that despite Whistler’s formalist intentions, the painting became a symbol of motherhood.
7. Jan van Eyck, The Arnolfini Portrait, 1434

One of the most significant works produced during the Northern Renaissance, this composition is believed to be one of the first paintings executed in oils. A full-
length double portrait, it reputedly portrays an Italian merchant and a woman who may or may not be his bride. In 1934, the celebrated art historian Erwin
Panofsky proposed that the painting is actually a wedding contract. What can be reliably said is that the piece is one of the first depictions of an interior using
orthogonal perspective to create a sense of space that seems contiguous with the viewer’s own; it feels like a painting you could step into.
8. Hieronymus Bosch, The Garden of Earthly Delights, 1503–1515
This

fantastical triptych is generally considered a distant forerunner to Surrealism. In truth, it’s the expression of a late medieval artist who believed that God and the
Devil, Heaven and Hell were real. Of the three scenes depicted, the left panel shows Christ presenting Eve to Adam, while the right one features the depredations
of Hell; less clear is whether the center panel depicts Heaven. In Bosch’s perfervid vision of Hell, an enormous set of ears wielding a phallic knife attacks the
damned, while a bird-beaked bug king with a chamber pot for a crown sits on its throne, devouring the doomed before promptly defecating them out again. This
riot of symbolism has been largely impervious to interpretation, which may account for its widespread appeal.
9. Georges Seurat, A Sunday Afternoon on the Island of La Grande Jatte, 1884–1886

Georges Seurat’s masterpiece, evoking the Paris of La Belle Epoque, is actually depicting a working-class suburban scene well outside the city’s center. Seurat often made this
milieu his subject, which differed from the bourgeois portrayals of his Impressionist contemporaries. Seurat abjured the capture-the-moment approach of Manet, Monet and
Degas, going instead for the sense of timeless permanence found in Greek sculpture. And that is exactly what you get in this frieze-like processional of figures whose stillness is
in keeping with Seurat’s aim of creating a classical landscape in modern form.
10.  Pabl
o

Picasso, Les Demoiselles d’Avignon, 1907

The ur-canvas of 20th-century art, Les Demoiselles d’Avignon ushered in the modern era by decisively breaking with the representational tradition of Western
painting, incorporating allusions to the African masks that Picasso had seen in Paris's ethnographic museum at the Palais du Trocadro. Its compositional DNA also
includes El Greco’s The Vision of Saint John (1608–14), now hanging in the Metropolitan Museum of Art. The women being depicted are actually prostitutes in a
brothel in the artist's native Barcelona.
11. Pieter Bruegel the Elder, The Harvesters, 1565

Bruegel’s fanfare for the common man is considered one of the defining works of Western art. This composition was one of six created on the theme of the
seasons. The time is probably early September. A group of peasants on the left cut and bundle ripened wheat, while the on the right, another group takes their
midday meal. One figure is sacked out under a tree with his pants unbuttoned. This attention to detail continues throughout the painting as a procession of ever-
granular observations receding into space. It was extraordinary for a time when landscapes served mostly as backdrops for religious paintings.
12.  Édo
uar d

Manet, Le Déjeuner sur l’herbe, 1863

Manet’s scene of picnicking Parisians caused a scandal when it debuted at the Salon des Refusés, the alternative exhibition made up of works rejected by the
jurors of the annual Salon—the official art exhibition of the Académie des Beaux-Arts that set artistic standards in France. The most vociferous objections to
Manet’s work centered on the depiction of a nude woman in the company of men dressed in contemporary clothes. Based on motifs borrowed from such
Renaissance greats as Raphael and Giorgione, Le Déjeuner was a cheeky send up of classical figuration—an insolent mash-up of modern life and painting
tradition.
13. Piet Mondrian, Composition with Red Blue and Yellow, 1930

A small painting (18 inches by 18 inches) that packs a big art-historical punch, Mondrian’s work represents a radical distillation of form, color and composition to
their basic components. Limiting his palette to the primary triad (red, yellow and blue), plus black and white, Mondrian applied pigment in flat unmixed patches in
an arrangement of squares and rectangles that anticipated Minimalism.
14. Diego Rodríguez de Silva y Velázquez, Las Meninas, or The Family of King Philip IV

A painting of a painting within a painting, Velázquez masterpiece consists of different themes rolled into one: A portrait of Spain’s royal family and retinue in Velázquez’s studio; a self-portrait; an
almost art-for-art’s-sake display of bravura brush work; and an interior scene, offering glimpses into Velázquez’s working life.  Las Meninas is also a treatise on the nature of seeing, as well as a
riddle confounding viewer about what exactly they’re looking at. It’s the visual art equivalent of breaking the fourth wall—or in this case, the studio’s far wall on which there hangs a mirror
reflecting the faces of the Spanish King and Queen. Immediately this suggests that the royal couple is on our side of the picture plane, raising the question of where we are in relationship to
them. Meanwhile, Velázquez’s full length rendering of himself at his easel begs the question of whether he’s looking in a mirror to paint the picture. In other words, are the subjects of  Las
Meninas (all of whom are fixing their gaze outside of the frame), looking at us, or looking at themselves?
15. Pablo Picasso, Guernica, 1937

Perhaps Picasso’s best-known painting, Guernica is an antiwar cris de coeur occasioned by the 1937 bombing of the eponymous Basque city during the Spanish
Civil War by German and Italian aircraft allied with Fascist leader Francisco Franco. The leftist government that opposed him commissioned Picasso to create the
painting for the Spanish Pavillion at 1937 World’s Fair in Paris. When it closed, Guernica went on an international tour, before winding up at the Museum of
Modern Art in New York. Picasso loaned the painting to MoMA with the stipulation that it be returned to his native Spain once democracy was restored—which it
was in 1981, six years after Franco's death in 1975 (Picasso himself died two years before that.) Today, the painting is housed at the Museo Nacional Centro de
Arte Reina Sofía in Madrid.
16. Francisco de Goya y Lucientes, The Naked Maja, circa 1797–1800

Definitely comfortable in her own skin, this female nude staring unashamedly at the viewer caused quite a stir when it was painted, and even got Goya into hot
water with the Spanish Inquisition. Among other things, it features one of the first depictions of public hair in Western art. Commissioned by Manuel de Godoy,
Spain’s Prime Minister, The Naked Maja was accompanied by another version with the sitter clothed. The identity of the woman remains a mystery, though she is
most thought to be Godoy’s young mistress, Pepita Tudó.
17. Jean Auguste Dominique Ingres, Grande Odalisque, 1814

Commissioned by Napoleon’s sister, Queen Caroline Murat of Naples, Grande Odalisque represented the artist’s break with the Neo-classical style he’d been
identified with for much of his career. The work could be described as Mannerist, though it’s generally thought of as a transition to Romanticism, a movement that
abjured Neo-classicalism’s precision, formality and equipoise in favor of eliciting emotional reactions from the viewer. This depiction of a concubine languidly
posed on a couch is notable for her strange proportions. Anatomically incorrect, this enigmatic, uncanny figure was greeted with jeers by critics at the time,
though it eventually became one of Ingres most enduring works.
18. Eugène Delacroix, Liberty Leading the People, 1830

Commemorating the July Revolution of 1830, which toppled King Charles X of France, Liberty Leading the People  has become synonymous with the revolutionary
spirit all over the world. Combining allegory with contemporary elements, the painting is a thrilling example of the Romantic style, going for the gut with its titular
character brandishing the French Tricolor as members of different classes unite behind her to storm a barricade strewn with the bodies of fallen comrades. The
image has inspired other works of art and literature, including the Statue of Liberty and Victor Hugo’s novel Les Misérables.
19. Claude Monet, Impression, Sunrise, 1874

The defining figure of Impressionism, Monet virtually gave the movement its name with his painting of daybreak over the port of Le Havre, the artist’s hometown.
Monet was known for his studies of light and color, and this canvas offers a splendid example with its flurry of brush strokes depicting the sun as an orange orb
breaking through a hazy blue melding of water and sky.
20. Caspar David Friedrich, Wanderer above the Sea of Fog, 1819

The worship of nature, or more precisely, the feeling of awe it inspired, was a signature of the Romantic style in art, and there is no better example on that score
than this image of a hiker in the mountains, pausing on a rocky outcrop to take in his surroundings. His back is turned towards the viewer as if he were too
enthralled with the landscape to turn around, but his pose offers a kind of over-the-shoulder view that draws us into vista as if we were seeing it through his eyes.
21. Théodore Géricault, The Raft of the Medusa, 1818–1819

For sheer impact, it’s hard to top The Raft of the Medusa, in which Géricault took a contemporary news event and transformed it into a timeless icon. The backstory begins with
the 1818 sinking of the French naval vessel off the coast of Africa, which left 147 sailors adrift on a hastily constructed raft. Of that number, only 15 remained after a 13-day
ordeal at sea that included incidents of cannibalism among the desperate men. The larger-than-life-size painting, distinguished by a dramatic pyramidal composition, captures
the moment the raft’s emaciated crew spots a rescue ship. Géricault undertook the massive canvas on his own, without anyone paying for it, and approached it much like an
investigative reporter, interviewing survivors and making numerous detailed studies based on their testimony.
22.  Edw
ard

Hopper, Nighthawks, 1942

An iconic depiction of urban isolation, Nighthawks depicts a quarter of characters at night inside a greasy spoon with an expansive wraparound window that almost takes up the entire facade of
the diner. Its brightly lit interior—the only source of illumination for the scene—floods the sidewalk and the surrounding buildings, which are otherwise dark. The restaurant's glass exterior creates
a display-case effect that heightens the sense that the subjects (three customers and a counterman) are alone together. It's a study of alienation as the figures studiously ignore each other while
losing themselves in a state of reverie or exhaustion. The diner was based on a long-demolished one in Hopper's Greenwich Village neighborhood, and some art historians have suggested that the
painting as a whole may have been inspired by Vincent van Gogh’s Café Terrace at Night, which was on exhibit at a gallery Hopper frequented at same time he painted Nighthawks Also of note:
The redheaded woman on the far right is the artist's wife Jo, who frequently modeled for him.
23. Marcel Duchamp, Nude Descending a Staircase, No. 2, 1912

At the beginning of the 20th-century, Americans knew little about modern art, but all that abruptly changed when a survey of Europe's leading modernists was mounted at New York City's 69th
Regiment Armory on Lexington Avenue between 25th and 26th Streets. The show was officially titled the "International Exhibition of Modern Art," but has simply been known as the Armory Show
ever since. It was a succès de scandale of epic proportions, sparking an outcry from critics that landed on the front page of newspapers. At the center of the brouhaha was this painting by Marcel
Duchamp. A stylistic mixture of Cubism and Futurism, Duchamp’s depiction of the titular subject in multiple exposure evokes a movement through time as well as space and was inspired by the
photographic motion studies of Eadweard Muybridge and Étienne-Jules Marey. The figure's planar construction drew the most ire, making the painting a lightning rod for ridicule.  The New York
Times's art critic dubbed it "an explosion in a shingle factory," and The New York Evening Sun published a satirical cartoon version of Nude with the caption, "The Rude Descending a Staircase
(Rush Hour at the Subway),” in which commuters push and shove each other on their way onto the train.  Nude was one of a handful of paintings Duchamp made before turning full time towards
the

conceptualist experiments (such as the Readymades and The Large Glass) for which he’s known.
Primavera

The word means spring in Italian. Primavera is a painting of Sandro Botticelli whose original name was Alessandro di Mariano Filipepi. The painting is also
known as 'Allegory of Spring'. It is believed that Botticelli is created this piece of art around 1482 and is said to be one of the prime examples of Renaissance
art. Many have attempted to interpret the painting, and many have come up with explanations. Some say it is a mythical allegory while some say it is about
the change of season into spring. This painting is popular because of the use of color and different explanations attached to it. Primavera is believed to be
the most controversial painting in the world.
The Creation of Adam by Michelangelo Buonarroti

Created in 1512, this is one of the iconic paintings of Michelangelo. The creation of Adam is the painting on the ceiling of the Sistine Chapel. Even though
this is one of the most replicated paintings of all time, it is only second in popularity to Mona Lisa. The painting has become a symbol of humanity as the
image depicts the hand of both God and Adam on the verge of touching.
The Last
Supper

Considered to be the best artwork by Leonardo Da Vinci in 1498, the Last Supper is an important painting of the Renaissance period. The image shows Jesus with
his disciples for his last supper. The painting is noted for its clever use of color, light, and anatomy. The painting is also a subject of many discussions and
conjectures. Many have proposed that the disciple sitting to the right of Jesus is Mary Magdalene and many have also wondered about the significance or meaning
of the V shape between Jesus and the person on the right. Despite all the conjectures, the Last Supper is one of the masterpieces by Leonardo Da Vinci.
The School of Athens by Raphael

Painted in 1511, it stands one among the four main frescos on the walls of Apostolic Palace in the Vatican. The four frescos symbolize Philosophy, Poetry,
Theology, and Law. The painting symbolizes philosophy because it is said the painting is a representation of the finest period of Greek Philosophy as one can
find Aristotle and Plato in the center of the painting. This painting has perfectly captured the classical spirit of the Renaissance.
The Kiss of Judas
Painted in the year 1306 by
depicts the moment of betrayal
identifies Jesus to the Roman
Scrovegni Chapel is home to
Bondone, and the Kiss of Judas
the cycle. Many critics believe
artist has been able to surpass
in the way he captured the
at that scene of betrayal.
Giotto di Bondone, this painting
of Jesus by Judas Iscariot who
soldiers by kissing him. The
the fresco cycle by Giotto di
is the most famous painting in
that Giotto is a genius and no
his work. His mastery is evident
expression of Jesus and Judas
The Last Judgment
This painting by Michelangelo
is found on the altar wall of the
painting is about the second coming
all humanity. Michelangelo has
by saints. The top portion of the
dead to heaven and the bottom
into hell. The use of colors and
of the most revered painting in the
Buonarroti completed in the year 1541
Sistine Chapel in Vatican City. The
of Jesus, the day when God shall judge
painted Jesus in the center surrounded
painting shows the resurrection of the
portion shows the descent of sinners
excellent brushwork make this painting
world.
Sistine Madonna

Raffaello Sanzio popularly known as Raphael painted the Sistine

Madonna in 1512. The painting shows Mother Mary holding baby
Jesus in her hands with Saint Barbara and Saint Sixtus on both her
sides and two cherubs beneath her. This is one of the most famous works
of Raphael and important painting of the Renaissance.
Assumption of the Virgin
The high altar in the Basilica di Santa Maria Gloriosa dei Frari, is where this painting by Tiziano Vecellio, also known as Titian is found. This painting was done by
Titian in his early years and he has used vivid colors in this painting. Assumption of the Virgin is a painting about the rise of Mother Mary into heaven. Titian has
painted Mother Mary in a red dress who is raised to heaven to where God is gazing down in Mary while apostles bid her farewell from the ground.
The Birth of Venus by Sandro Botticelli:

Created in 1485, the painting shows Goddess Venus arriving on the island of Cyprus. She is depicted as a pure and mature woman standing on a seashell.
Botticelli had given much attention to every detail of Venus. This painting was done in a period where nudity was a subject in paintings and thus makes this one
an important painting of the Renaissance.

The list sums up the 10 most important paintings of the Renaissance, which saw the rise of many artists. The Renaissance was, without doubt, a cultural and
artistic revival in history and these paintings have become synonymous with the period of the Renaissance.